DOCSLIB.ORG

Jack Kerouac U.S

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jack Kerouac U.S National Park Service Jack Kerouac U.S. Department of the Interior Lowell National Historical Park “...I was going home in October. Everybody goes home in October.” On the Road The Writer Jack Kerouac is a writer who wrote his which was a high note in most of his “songs” in spoken language to be read and writings. Most of all he wrote about the sometimes sung aloud. He wrote about wretchedness of the human condition his childhood, his adolescence, and his which, according to him, should find Lowell friends; he also wrote about his solace in brotherhood, kindness and many other friends from around the heaven. country and the world. He loved religion, His Life Kerouac was born in Lowell, the age of 47. Kerouac’s first seventeen Massachusetts, on March 12, 1922, “at five years were those of a typical Franco - o’clock in the afternoon of a red- all-over American youth living in Lowell; his next supper time” (Doctor Sax) and died in St. thirty years were those of a travelling Petersburg, Florida, on October 21, 1969, at Ulysses living with everyone everywhere. French-Canadian Roots Jack’s parents were born in Quebec. They the family apartment at 118 University met and were married in Nashua, New Avenue (formerly Moody Street). Hampshire, and later moved to Lowell. Jack had one brother, Gerard, who died The Pawtucketville Social Club, 123 when Jack was four years old, and one University Avenue, was founded in 1897 to sister, Caroline (Nin). From 1922 until teach English to the city’s newest French - 1943, Kerouac’s family lived in many Canadian immigrants. It continued to different homes. During this time, Lowell serve the neighborhood by providing a was a city of about 100,000 people, recreation center that helped preserve including 30,000 Franco-Americans. French-Canadian traditions and customs. Most of these French-speaking During the Great Depression of the 1930s, immigrants and their families settled in the Kerouac’s father managed this club, where Centralville, Little Canada, and Jack and his friends spent much time Pawtucketville sections of the city. As a shooting pool. teenager, Jack had a room of his own in Education Although he was a first generation when he was a football and track star. Jack Franco-American. Jack spoke French began writing seriously when he was 17. exclusively until he was seven years old. Among his early influences were He attended elementary school at St. Louis Whitman, Saroyan, Wolfe, and Thoreau. Parochial School at 79 Boisvert Street and He earned a scholarship to Columbia but the Oblate School on Merrimack Street in dropped out his sophomore year. In 1942, Little Canada. Jack skipped sixth grade he worked briefly as a Lowell Sun (8) sports and entered Bartlett Junior High, a public reporter. After serving in the Merchant school at 79 Wannalancit Street. Jack then Marines during World War II, Jack moved attended Lowell High School (3) located to New York to join his family, who had on Kirk Street. Maggie Cassidy takes place moved there from Lowell. during Jack’s senior year at Lowell High, Jack Kerouac first gained literary notice with the 1950 publication of his auto-biographical novel, The Town and the City, a tale of his coming of age in Lowell and New York City. His 1957 novel On the Road was a literary and cultural sensation that led to his being labeled the “Father of the Beat Generation.” He went on to write and publish more than 20 books of prose and Downtown Walking Tour of 4. Nicky’s Bar poetry. He is considered one of Kerouac’s Lowell 5. Pollard Memorial Library the most important authors of the 1. Parking 6. Mill Girls & Immigrants Exhibit 20th century. 2. Lowell NHP Visitor Center 7. Kerouac Commemorative 3. Lowell High School 8. Lowell Sun Kerouac’s Places The city of Lowell serves as a backdrop for religious order, built a replica of the many of Kerouac’s books, in which he Grotto at Lourdes. Haunted by this describes various businesses, churches, grotto, Kerouac wrote in Doctor Sax, haunts, and residences of Lowell. Some “Everything there was to remind of Death, of these still exist. One of them, St. Jean and nothing in praise of life.” Baptiste Church, now Nuestra Senora del Carmen, Kerouac described as “the In 1967, Jack married Stella Sampas and ponderous chartreuse cathedral of the returned to Lowell. His mother had slums.” Jack’s funeral was held there. One suffered a stroke, and his only sister had can also still see the Bienvenue Social Club died suddenly. While in Lowell, he wrote and “Funeral Row,” a series of funeral another novel, Vanity of Duluoz: An homes including Amedee Archambault & Adventurous Education, 1935-1943. He Sons, the site of Kerouac’s wake. Nearby, at frequented Nicky’s Bar (4) at 112 Gorham the corner of Pawtucket and School Street, now a restaurant, and spent many Streets, is an elegant old house built in 1875 hours at Pollard Memorial Library (5) as for the industrialist Frederic A. Ayer. In he had years before with his sister Nin. 1908, the building became the Franco - Jack expressed thanks in Doctor Sax for American Orphanage. Behind this the books that were always available at the building, the Oblate Fathers, a Canadian library. Artifacts The Mill Girls & Immigrants Exhibit (6), a and backpack. For exhibit hours call part of Lowell National Historical Park, Lowell National Historical Park at (978) located at the Mogan Cultural Center, 40 970-5000, or stop at the Visitor Center at French Street, features a display of 246 Market Street. Kerouac artifacts, including a typewriter Final Resting Place & Memorial Jack Kerouac’s grave is in the Sampas The Jack Kerouac Commemorative is family plot at Edson Cemetery, which is located in Kerouac Park (7) on Bridge located on Gorham Street two miles south Street. Dedicated in 1988, the commemo- of the Lowell Connector. A small flush rative contains excerpts from Kerouac’s stone at Lincoln Avenue between Seventh writings. The path, with its cross and series and Eighth Streets is marked “Ti Jean, of circles, refers to Kerouac’s Roman John L. Kerouac, Mar. 12, 1922 -1969, Catholic and Buddhist beliefs and evokes -He Honored Life.” his lifelong spiritual quest. Events Every fall, the “Lowell Celebrates website for “Lowell Celebrates Kerouac!” Kerouac!” Committee holds a three-day at http://lckorg.tripod.com. event in his honor. For more information, write: Lowell Celebrates Kerouac, P.O. Box 1111, Lowell, MA 01853 or visit the official Lowell National Historical Park 67 Kirk St., Lowell, MA 01852 (978)970-5000; TDD (978)970-5002 http://www.nps.gov/lowe.
Load more

Recommended publications
  • The Portable Beat Reader Pdf, Epub, Ebook
    THE PORTABLE BEAT READER PDF, EPUB, EBOOK Ann Charters | 688 pages | 07 Oct 2014 | Penguin Books Ltd | 9780142437537 | English | London, United Kingdom The Portable Beat Reader PDF Book What We Like Waterproof design is lightweight Glare-free screen. Nov 21, Dayla rated it it was amazing. See all 6 brand new listings. Night mode automatically tints the screen amber for midnight reading. The author did an excellent job of reviewing each writer - their history, works, etc - before each section. Diane DiPrima Dinners and Nightmares excerpt 5. Animal Farm and by George Orwell and A. Get BOOK. Quick Links Amazon. Although in retrospect, my knowledge was hardly rich with understanding, even though I'd read some Burroughs, knew of Kerouac and On the Road , Ginsberg and Howl. And last but not least, Family Library links your Amazon account to that of your relatives to let you conveniently share books. Again, no need to sit down and read the whole thing. She guides you through all the sections of the Beats Generation: Kerouac's group in New York, the San Francisco Poets, and the other groups that were inspired by the work these groups produced. Members Reviews Popularity Average rating Mentions 1, 7 10, 4. First off, Amazon has included a brand-new front light that allows you to read in the dark, something that was previously only available on the more expensive Kindle Paperwhite. But Part 5 was my joy! E-readers are also a great option for kids to explore. Status Charters, Ann Editor primary author all editions confirmed Baraka, Amiri Contributor secondary author all editions confirmed Bremser, Ray Contributor secondary author all editions confirmed Bukowski, Charles Contributor secondary author all editions confirmed Burroughs, William S.
    [Show full text]
  • “But Cantos Oughta Sing”: Jack Kerouac's Mexico City
    The Albatross is pleased to feature the graduating essay of Jack Derricourt which won the 2011 English Honours Essay Scholarship. “But Cantos Oughta Sing”: Jack Kerouac’s Mexico City Blues and the British-American Poetic Tradition Jack Derricourt During the post-war era of the 1950s, American poets searched for a new direction. The Cold War was rapidly reshaping the culture of the United States, including its literature, stimulating a variety of poets to rein- terpret the historical lineage of poetic expression in the English language. Allen Grossman, a poet and critic who undertook such a reshaping in the fifties, turns to the figure of Caedmon from the Venerable Bede’s early eighth century Ecclesiastical History of the English People to seek out the roots of British-American poets. For Grossman, Caedmon represents an important starting point within the long tradition of English-language poetry: Bede’s visionary layman crafts a non-human narrative—a form of truth witnessed beyond the confines of social institutions, or transcend- ent truth—and makes it intelligible through the formation of conventional symbols (Grossman 7). The product of this poetic endeavour is the song. The figure of Caedmon also appears in the writings of Robert Duncan as a model of poetic transference: I cannot make it happen or want it to happen; it wells up in me as if I were a point of break-thru for an “I” that may be any person in the cast of a play, that may like the angel speaking to Caedmon to command “Sing me some thing.” When that “I” is lost, when the voice of the poem is lost, the matter of the poem, the intense infor- mation of the content, no longer comes to me, then I know I have to wait until that voice returns.
    [Show full text]
  • The Importance of Neal Cassady in the Work of Jack Kerouac
    BearWorks MSU Graduate Theses Spring 2016 The Need For Neal: The Importance Of Neal Cassady In The Work Of Jack Kerouac Sydney Anders Ingram As with any intellectual project, the content and views expressed in this thesis may be considered objectionable by some readers. However, this student-scholar’s work has been judged to have academic value by the student’s thesis committee members trained in the discipline. The content and views expressed in this thesis are those of the student-scholar and are not endorsed by Missouri State University, its Graduate College, or its employees. Follow this and additional works at: https://bearworks.missouristate.edu/theses Part of the English Language and Literature Commons Recommended Citation Ingram, Sydney Anders, "The Need For Neal: The Importance Of Neal Cassady In The Work Of Jack Kerouac" (2016). MSU Graduate Theses. 2368. https://bearworks.missouristate.edu/theses/2368 This article or document was made available through BearWorks, the institutional repository of Missouri State University. The work contained in it may be protected by copyright and require permission of the copyright holder for reuse or redistribution. For more information, please contact [email protected]. THE NEED FOR NEAL: THE IMPORTANCE OF NEAL CASSADY IN THE WORK OF JACK KEROUAC A Masters Thesis Presented to The Graduate College of Missouri State University TEMPLATE In Partial Fulfillment Of the Requirements for the Degree Master of Arts, English By Sydney Ingram May 2016 Copyright 2016 by Sydney Anders Ingram ii THE NEED FOR NEAL: THE IMPORTANCE OF NEAL CASSADY IN THE WORK OF JACK KEROUAC English Missouri State University, May 2016 Master of Arts Sydney Ingram ABSTRACT Neal Cassady has not been given enough credit for his role in the Beat Generation.
    [Show full text]
  • A Marxist Analysis of Beat Writing and Culture from the Fifties to the Seventies
    The Working Class Beats: a Marxist analysis of Beat Writing and Culture from the Fifties to the Seventies. Paul Whiston Sheffield University, United Kingdom Introduction: a materialist concept of ‘Beat’ The Beat Generation was more than just a literary movement; it was, as John Clellon Holmes, stated ‘an attitude towards life’.1 In other words, the Beat movement was a social, cultural and literary phenomenon. I will analyse what this Beat ‘attitude’ actually meant and also what the relationship between the literature and the Beat culture was. In A Glossary of Literary Terms Abrams defines ‘Beat’ as signifying ‘both “beaten down” (that is, by the oppressive culture of the time) and “beatific” (many of the Beat writers cultivated ecstatic states by way of Buddhism, Jewish and Christian mysticism, and/or drugs that induced visionary experiences)’.2 My focus will be on the beaten down aspects of Beat writing. I will argue that this represents a materialist concept of ‘Beat’ (as opposed to the ‘spiritual’ beatific notion) which aligns with Marx’s ideas in The German Ideology.3 Given that ‘beaten down’ is defined in terms of cultural oppression I will put forward the thesis that the culturally oppressed writers of the Beat Generation were those of a working-class background (particularly Cassidy and Bukowski) and it was their ability to create a class-consciousness that gave Beat writing and culture its politically radical edge. 1 I question the extent to which the likes of Ginsberg and Kerouac were really ‘beaten down’. Evidence will be shown to prove that most of these ‘original’ Beats had a privileged upbringing and a bourgeois/bohemian class status, therefore being ‘Beat’, for them, was arguably a ‘hip’ thing to be, an avant-garde experiment.
    [Show full text]
  • Dostoevsky and the Beat Generation
    MARIA BLOSHTEYN Dostoevsky and the Beat Generation American literary history is rich with heroes of counterculture, maverick writers and poets who were rejected by the bulk of their contemporaries but inspired a cult-like following among a few devotees. The phenomenon of Beat Generation writers and poets, however, is unique in twentieth-century American letters precisely because they managed to go from marginal underground classics of the 1950s to the official voice of dissent and cultural opposition of the 1960s, a force to be reckoned with. Their books were adopted by hippies and flower children, their poems chanted at sit-ins, their lives faithfully imitated by a whole generation of young baby boomers. Their antiauthoritarian ethos along with their belief in the brotherhood of mankind were the starting point of a whole movement that gave the United States such social and cultural watersheds as Woodstock and the Summer of Love, the Chicago Riots and the Marches on Washington. The suggestion that Dostoevsky had anything to do with the American Sexual Revolution of the 1960s and street rioting in American urban centres might seem at first to be far-fetched. It is, however, a powerful testimony to Dostoevsky’s profound impact on twentieth-century American literature and culture that the first Beats saw themselves as followers of Dostoevsky and established their personal and literary union (and, as it were, the entire Beat movement) on the foundation of their shared belief in the primacy of Dostoevsky and his novels. Evidence of Dostoevsky’s impact on such key writers and poets of the Beat Generation as Allen Ginsberg (1926-1997), Jack Kerouac (1922-1969), and William Burroughs (1914-1997) is found in an almost embarrassing profusion: scattered throughout their essays, related in their correspondence, broadly hinted at and sometimes explicitly indicated in their novels and poems.
    [Show full text]
  • Beatnik Fashion
    Greater Bay Area Costumers Guild Volume 12, Number 5 September-October 2014 Beatnik Fashion Not every member of the Beat Generation wore a beret BY KALI PAPPAS s any fan of the Beat Generation writers will tell The Beatnik. When most people hear the word “beatnik,” you, there’s a chasmic difference between the they probably imagine bored-looking bohemian gals in A beret-wearing, bongo-beating “beatnik” of berets and guys in turtlenecks and weird little goatees. These popular imagination and the people who created stereotypes are rooted in truth, but like the term “beatnik” and lived the Beat philosophy in the 1940s, 50s, and 60s. In itself, they’re not really very representative of the movement defined by the “Beat Generation” nor the people inspired by its counterculture philosophy. The reality is that the intellectuals, artists, and anti- bourgeois iconoclasts of mid-twentieth century America dressed a lot like everyone else. Legendary San Fig. 1: Spoofing beatnik stereotypes Fig. 2: Jack Kerouac Francisco columnist Herb Caen created the anticipation of our “On the Road” event in November, I’ve term “beatnik” in 1958, a portmanteau of “beat” and compiled a short list of looks - for both men and women - that “Sputnik” (as in the Soviet satellite) that - in conjunction combine standard 1950s fashions with enough bohemian with a short report about freeloading hep cats helping sensibility to help you fit in without looking like a stereotype themselves to booze at a magazine party - was meant to (unless you really want to). poke fun at common perceptions of the counterculture.
    [Show full text]
  • Illusions and Frustrations in the Life and Works of Jack Kerouac René Galand Wellesley College
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Wellesley College Wellesley College Wellesley College Digital Scholarship and Archive French Faculty Scholarship French 1997 Illusions and Frustrations in the Life and Works of Jack Kerouac René Galand Wellesley College Follow this and additional works at: http://repository.wellesley.edu/frenchfaculty Recommended Citation Galand, René, "Illusions and Frustrations in the Life and Works of Jack Kerouac" (1997). French Faculty Scholarship. Paper 29. http://repository.wellesley.edu/frenchfaculty/29 This Article is brought to you for free and open access by the French at Wellesley College Digital Scholarship and Archive. It has been accepted for inclusion in French Faculty Scholarship by an authorized administrator of Wellesley College Digital Scholarship and Archive. For more information, please contact [email protected]. Illusions and frustrations in the life and works of Jack Kerouac Since the time of Romanticism, there has been a divorce between artists and writers, on one side, and the upper strata of society on the other. A few examples: the battle of Hernani , the trials of Flaubert's Madame Bovary and of Baudelaire's Les Fleurs du Mal for obscenity, the war waged by the Dadaists and the Surrealists against official art and literature. In the United States, things were pretty much the same, as witness the cases of Whitman and, at a later date, of the Lost Generation, when writers and artists like Hemingway, Dos Passos, Henry Miller, Eugene Jolas, Malcolm Cowley, Man Ray, et. al., sought in Montparnasse or Montmartre surroundings more favourable to creation than the America of the twenties, and of the Beat Generation, the generation of writers who became adults at the time of World War II.
    [Show full text]
  • An Analysis of the Press Coverage of the Beat Generation During the 1950S Anna Lou Jessmer [email protected]
    Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2012 Containing the Beat: An Analysis of the Press Coverage of the Beat Generation During the 1950s Anna Lou Jessmer [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the Critical and Cultural Studies Commons, Journalism Studies Commons, and the Mass Communication Commons Recommended Citation Jessmer, Anna Lou, "Containing the Beat: An Analysis of the Press Coverage of the Beat Generation During the 1950s" (2012). Theses, Dissertations and Capstones. Paper 427. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected]. CONTAINING THE BEAT: AN ANALYSIS OF THE PRESS COVERAGE OF THE BEAT GENERATION DURING THE 1950S A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Journalism by Anna Lou Jessmer Approved by Robert A. Rabe, Committee Chairperson Professor Janet Dooley Dr. Terry Hapney Marshall University December 2012 ii Dedication I would like to dedicate my research to my grandfather, James D. Lee. His personal experiences during the Cold War at home and abroad inspired in me a fascination of the era at an early age. iii ACKNOWLEDGMENTS I would like to take a moment to acknowledge in writing, a few individuals without whom this paper would not be complete. I am incredibly and eternally grateful for Professor Robert A.
    [Show full text]
  • The Beats: the Representation of a Battered Generation
    THE BEATS: THE REPRESENTATION OF A BATTERED GENERATION Thesis Submitted to The College of Arts and Sciences of the UNIVERSITY OF DAYTON In Partial Fulfillment of the Requirements for The Degree Master of Arts in English By Nada Alabdullah Dayton, Ohio May, 2014 THE BEATS: THE REPRESENTATION OF A BATTERED GENERATION Name: Alabdullah, Nada APPROVED BY: Albino Carrillo, MFA Associate Professor of English University of Dayton Bryan A. Bardine, Ph.D. Coordinator of Teaching Assistant Training Editorial Board, Metal Music Studies University of Dayton Andrew Slade, Ph.D Associate Professor and Director of Graduate Studies Department of English University of Dayton ABSTRACT THE BEATS: THE REPRESENTATION OF A BATTERED GENERATION Name: Alabdullah, Nada University of Dayton Advisor: Prof. Albino Carrillo In the 1950's and 60's, a new era was marked in poetry; it no longer dealt with nature or love or even family, but with controversial social issues. A group of battered poets, who became frustrated with the constant crushing of people's individuality and freedom, decided to speak up. They called themselves The Beat Generation; they represented everything that is beautiful, truthful, and serene, which was revolutionary at the time. Allen Ginsberg was one of the founding fathers of this group of writers. His poetry mirrored the constant social and cultural oppression of the American people. This thesis discusses the contemporary American poet Allen Ginsberg and his views on life, society, cultural, and politically controversial issues. Allen Ginsberg’s poetry speaks volumes about individual freedom and love. iii ACKNOWLEDGMENTS I would like to express my deepest gratitude to my advisor Professor Albino Carrillo for his continuous support and motivation as I wrote my thesis.
    [Show full text]
  • Front Matter
    Cambridge University Press 978-1-107-18445-9 — The Cambridge Companion to the Beats Edited by Steven Belletto Frontmatter More Information i The Cambridge Companion to the Beats The Cambridge Companion to the Beats offers an in- depth overview of one of the most innovative and popular literary periods in America, the Beat era. The Beats were a literary and cultural phenomenon originating in New York City in the 1940s that reached worldwide signii cance. Although its most well- known i gures remain Jack Kerouac, Allen Ginsberg, and William S. Burroughs, the Beat Movement radiates out to encompass a rich diversity of i gures and texts that merit further study. Consummate innovators, the Beats had a profound effect not only on the direction of American literature but also on models of sociopolitical critique that would become more widespread in the 1960s and beyond. Bringing together the most inl uential Beat scholars writing today, this Companion provides a comprehensive exploration of the Beat Movement, asking critical questions about its associated i gures and arguing for their importance to postwar American letters. Steven Belletto is Associate Professor of English at Lafayette College. He is the author of No Accident, Comrade: Chance and Design in Cold War American Narratives (2012) and a co- editor of American Literature and Culture in an Age of Cold War: A Critical Reassessment (2012). The author of numerous articles on post- 1945 American literature and culture that have appeared in journals such as American Literature , American Quarterly , ELH , and Twentieth- Century Literature , from 2011 to 2016 he was associate editor of the journal Contemporary Literature , and is currently an editor there.
    [Show full text]
  • The Beat Generation's Impact on Neal Cassady
    HON 495 English Independent Study with Dr. Joan Dean Beat to Death: The Beat Generation’s Impact on Neal Cassady The Beat Generation is one of the most influential movements in American literature. The lives of these writers are just as fascinating as their stories and poetry. The most important members and contributors were writer Jack Kerouac, poet Allen Ginsberg, and their best friend, lover, and muse Neal Cassady. These three men, as well as others along the way, would redefine the roles of men in a post-World War II America as well as create a new image for the country. Arguably, it was Cassady who was the catalyst for this movement, but he hardly wrote a word. He came to New York from Denver, where his past was fabricated and unbelievable, to have Kerouac teach him how to write. Cassady, the conman, wanted to learn from Kerouac and then from Ginsberg. He was immortalized in Jack Kerouac’s On the Road as Dean Moriarty, the rebel from Denver, who always chose adventure over responsibility. Allen Ginsberg wrote him as a “secret hero” in his most famous poem “Howl” (Ginsberg 136). Both Kerouac and Ginsberg idolized Cassady but for different reasons. Cassady himself is an enigma, his entire life story a fabrication. He grew up on the streets of Denver, stealing cars and hustling. He was also an altar boy and a father of three, and even tried his hand at writing with his unfinished autobiography The First Third. With the help of Kerouac, he managed to make his life into what would later be the embodiment of the Beat Generation.
    [Show full text]
  • The Beat Generation
    THE BEAT GENERATION CRITICAL ESSAYS EDITED BY Kostas Myrsiades PETER LANG New York • Washington, D.C./Baltimore • Bern Frankfurt am Main • Berlin • Brussels • Vienna • Oxford CONTENTS Preface ix Introduction 7 Teaching the Beat Generation to Generation X Robert Bennett 1 Chapter One \ Telepathic Shock and Meaning Excitement: /< Kerouac's Poetics of Intimacy Ann Douglas 21 Chapter Two v "You're putting me on: "Jack Kerouac and the x v Postmodern Emergence Ronna C.Johnson 37 Chapter Three \ Beating Time: Configurations of Temporality in x Jack Kerouac's On the Road Erik R. Mortenson 57 vi Contents Chapter Four The Author as Spiritual Pilgrim: The Search for Authenticity in Jack Kerouac's On the Road and The Subterraneans Steve Wilson 77 Chapter Five A White Man in Love: A Study of Race, Gender, Class, and Ethnicity in Jack Kerouac's Maggie Cassidy, The Subterraneans, and Tristessa Nancy McCampbell Grace 93 Chapter Six Reconceiving Kerouac: Why We Should Teach Doctor Sax Fiona Paton 121 Chapter Seven Word Begets Image and Image Is Virus: Undermining Language and Film in the Works of William S. Burroughs Douglas G. Baldwin 155 Chapter Eight Intersection Points: Teaching William Burroughs's Naked Lunch TimothyS. Murphy 179 Chapter Nine Allen Ginsberg's Urban Pastoral Terence Diggory 201 ChapterTen "0 fellow travelers I write you a poem in Amsterdam": Allen Ginsberg, Simon Vinkenoog, and the Dutch Beat Connection Jaap van der Bent 219 Chapter Eleven Mountains and Rivers Are Us: Gary Snyder and the Nature of the Nature of Nature Robert Kern 235 Contents vii Chapter Twelve Chicanismo's Beat Outrider? The Texts and Contexts of Oscar ZetaAcosta A.
    [Show full text]